Newark School of Fine and Industrial Art - Fawcett Yearbook (Newark, NJ)

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he tin 3m mares Ye ( eens | { Hepetn Pee Eee Ce Le) ae =f =] aw | =. ce emeith Pa epes— S| (Ch Ss Or eter et ta: NCU ase meet) im rebels POU LI Vl LS Lol LL ae Pcie Say ' Aco Srocohee tet oi RTL be La tre | Ss ea comesemees f [| GE BB Ey er ey me pe Me RD 8: gee c— — Sa aeee cyte see = SCELeee girder or column that is to be used in con- aa = = Se = eg reas ke = SS SS Sa tee 2 remes ‘ ss ee a, ao AY | os i Te eee hee ’ mG i: Eada ie | Ca PE 7 SEED | ett FL ——— 7 = TiS es as Ss oe J eS [Sone ee ae oe eee as a Se as pues e 2S. Soiree [ee et ; FL ay BS Ei re | Ai | igs Gk i | | Ay i a rn ns i po Sle MI of; en ae Pitt tl : i “Nv af or iota nated Lal td: Y {| r Saas SY I A Aw we pe; Poorer Ics ory) THE AGE OF STEEL é He oe Ss — = cose Iq: : eS et ist ry at DE FER DS RS ann Tow Lat Doss As the average person going to and from his place of business casually gazes up at the huge skyscrapers lined along the way, Each type of beam, does not fully realize the important part that steel structural design struction must be separately plays in the construction of these buildings. S cqrincrnenreneetarinassoe .s DiPietro A ‘ RramAa SYES GA SOASALSLS SLANE sa at 1: us @ l In figuring the designed and detailed. stresses and strains on a steel beam the designer must take into con- sideration the weight of the beams designed, floors, wooden floors, partitions, the weight of cement ceilings, etc. ) plaster Another important factor to be taken into consideration is the pressure of the wind on the structure. The study of steel structural design is involved in the construc- tion of huge skyscrapers, bridges, elevated highways. elevated railways and ) tunnels During the last sixty years, the steel industry has grown by leaps and bounds until at the preset day it has become the basis of modern labor. JAMES L. BERKLEY, President Mechanical Class ’28 [57]

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Pathe News showed Laura Winter, the clever little Hungarian artist, drawing to entertain the patients of a certain hospital. Laura was always so sweet and thoughtful. The news also showed the tallest, thinnest woman in the world, but it was really a farce, for it was Charlotte Weber on stilts. After the vitaphone program, in which Betty Maff, fair banjo- ist, gave a clever selection entitled “Kay and I”; Agnes Downs came in. She did not seem to be the least bit hurried despite her lateness. The next morning at breakfast I glanced over the society col- umn of the daily paper. The only thing of interest that I noted was mention of a small luncheon given by Mrs. Russell Egert, at her home in Lynhurst. I wonder if Libby could pour tea with- out laughing. Among the guests was Ruth Toms, the talented cos- tume illustrator. Irene Rodecki called me later and asked me to have lunch with her and in the afternoon go for a drive. I was proud to accept, as Rodecki the great costume authority is on the lips of nearly every fashionably dressed woman in New York. We had luncheon at the Du Bourgogne Tea Room, and there found Claire Dufault had a charm shop in connection with the tea room. I could not resist purchasing a small yellow green bowl, decorated with blue violet notches—it had a Fawcett at- mosphere about it somehow. . Of peculiar charm was a handsomely bound children’s book, illustrated by Ruth Salisbury, with special decorative features by Irene Krupicka. Some of the objects for sale are decorated by Isabelle Coke and bring enormous prices. A “preferred blonde” came in just as we were leaving. She was Gert Uchtman, and was evidently anticipating selling some of her lovely landscape watercolors. Irene and I went to see Dorothy Van Riper and husband first. She served some delicious muffins her husband had baked. Dorothy was lucky in getting a baker for a husband. Passing through Morristown we saw Lillian Plank, knickers donned, painting a large sign poster for “Red Hair.” ‘What is this ‘Red Hair,’” Irene asked me, to which I could give no satis- factory answer. Seeing we were so near to where Edna Hankinson abides, we thought we might as well drop in and see her. She had “gone to the dogs,” for we found her raising pedigreed pups! Joel Ornstein, we found in a Newark studio. Just then he was painting a modernistic poster advertising “Gentlemen Prefer Blondes.” Helene Donahue was the inspiring model. EDNA HANKENSON, ’28 [56]

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THE OFRICE (A Play in One Act) (Time—the present. Helen is working assiduously at her desk. Miss Marquart enters. ) Miss M. Good morning, Helen. HELEN. Good morning, Miss Mar- quart. Miss M. No, Helen, I don’t want to be disturbed today. I am very busy and must have the schedule finished this after- noen. You understand? HELEN. Yes, Miss Marquart. [Exit Miss M., to her private office. | [Telephone rings. Helen picks up the receiver. | HELEN. Will you speak a little plainer. What? Who? No, this is not the Morgue. This is the Fawcett School of Art. [Hangs up.] [Enter the plumber.]} PLUMBER. Good morning, Miss. Heten. I thought you were to he here on Friday. PLUMBER. Dat’s so, but I forgot zee hammer, and had to go home for it, and ven I gets back the school was closed. HELEN. Miss Marquart is very busy now. PLUMBER. Vell, I have my hammer this time. [Enter the coal man, the electrician, the carpenter, the mason, the slater, a deputa- tion from the Art for Art’s Sake Associa- tion, a hopelessly fat lady looking for a job as a model, a number of ex-art stu- dents looking for letters of introduction, and Mr. Kleinfeldt with an arm full of broken casts, including a head of Julius Caesar. | Mr. K. [Very excited]. Where’s Miss Marquart? HELEN. She is very busy now, Mr. K. Mr. K. Ah, she’s always busy. I must see her right away. PLUMBER. Say, boss, you cannot see Miss Marquart. I vass here before you. Mr. KLEINFELDT. Before me? Are you crazy? I’ve been here for forty years. PLumBErR. I don’t care if you were here for four hundred years, I must see her first. Coat Man. Listen here, I must see her before any of you. If not, I’ll take back the coal and you can all freeze to death. Mr. K. You must not take back the coal, and you can see Miss Marquart after I find out who broke those casts. [Lets one of the casts fall on the foot of the fat lady. She swoons and falls into the arms of the plumber. He becomes embarrassed and lets her fall on the floor. Miss Mar- quart hears the noise and comes from the next room. | Miss M. Anyone wish to see me? [She sees the model on the floor.| My goodness! What’s the matter? PLUMBER. Julius Caesar stepped on the lady’s corns, ma’am. [The model is revived.] Miss M. Now, what can I do for you all? PLUMBER. If you don’t let me work on the pipes today the school will be flooded. Mason. I want to get started, too, and finish the breach in the wall before the frost comes. SLATER. If I don’t get started the rain will come through the roof. Coat Man. I want to know who or- dered the coal. If I don’t find out I'll take it back. StrANGER. And I have called on be- half of the Art for Art’s Sake Association. Crazy Man. I have heard that a few of the students dies here. This is my card. We bury our clients very cheap. Mr. K. And I’d like to know who broke those casts, : CARPENTER. I’m ready to fix the door. [Miss Marquart looks bewildered. The telephone rings. | HELEN. No, this is not the Lunatic Asylum. [Hangs up. The bell rings again.| Yes, she’s here. Miss Marquart, you are wanted at the City Hall. Miss M. [Goes to the telephone]. Yes, my car is here. I have a few minor matters to deal with, but I’ll be there in a quarter of an hour. [Miss M. hangs up the receiver, gets everything straightened out, puts on her hat and coat.]| Miss M. sible, Helen. HELEN. All right, Miss Marquart. I’ll be back as soon as pos- [58 ]